本文比較宋、元二本《三禮圖》的頁面差異，結合考古出土文物，從書籍使用的角度——特別是士人對簠、簋、籩、豆等古制禮器的認識與實踐——對版面改變的原因提出解釋。從歷史的長程發展來看，禮書、禮器圖至宋代發生巨變。北宋中期開始，一波波禮器名物制度的討論，挑戰過往知識與權威。以出土金石古器為根據的新興禮器制度，逐漸取代漢唐以來的經典權威，如《三禮圖》。
南宋中、後期，是此發展的關鍵時期。刊刻於南宋淳熙二年（ 1175）的《新定三禮圖》，版面的視覺性強，以圖為主，圖、文緊密配合，便於彼此參照，尚可見禮器圖樣的功能。紹熙五年（ 1194），源於出土古器的《紹熙州縣釋奠儀圖》頒布，並隨著朱熹之學而傳播，《三禮圖》的圖樣功能逐漸被取代。刊印於元成宗大德十一年（ 1307）的《重校三禮圖》，圖、文分離，圖像退居其次，轉而強調文字閱讀的流暢性。宋、元《三禮圖》之大幅改版，反映該書從兼具圖樣手冊功能，到褪去實用性，成為純粹典籍的過程。

With a focus on the Sanli tu by Nie Chongyi, this article investigates the uses of this book by comparing the typographies of two editions, one dated to the Southern Song and the other to the Yuan. Their layouts are radically different, particularly in the relationship between the text and the image. Such formal differences are examined in the context of ritual object design and manufacture, which evolved a transformation as a result of the antiquarian development from the eleventh to the thirteenth century.
As the empirical approaches of antiquarianism flourished, the ritual objects illustrated in the Sanli tu, the “classicist type” that derived from ancient ritual classics, were questioned and gradually yielded to the “antiquarian type” which found their prototypes in excavated ancient bronze ritual objects. The circulation of the Shaoxi Illustrated Handbook in 1194 marked the watershed. With clear drawings and straightforward prescriptions, this ritual manual accelerated the spread of the new antiquarian type, thereby undermining the foundation of the Sanli tu. Published on the eve of the watershed, the 1175 edition still retained its manual function, with the image taking precedence over the text to facilitate ritual object design. In 1307, when the Sanli tu was republished, it had by and large lost the battle in the field of ritual object design. The new layout suggests that the Sanli tu had become a pure text for reading, no longer a significant ritual manual.